By J. A. E. Curtis
Released in 1987, this publication used to be the 1st full-length interpretative examine in English of the later writings of the phenomenal Soviet novelist and playwright Mikhail Bulgakov (1891-1940). the focal point is the Nineteen Thirties, the interval whilst Bulgakov was once writing The grasp and Margarita, a unprecedented novel that has had a profound effect within the Soviet Union and that's now often considered as his masterpiece. utilizing fabric from Soviet data and libraries, Dr Curtis means that Bulgakov's primary preoccupation during this movel with the future of literature and of the author is mirrored in different significant works of a similar interval, particularly his writings on Pushkin and Molière. Bulgakov emerges as a belated romantic, a determine specific at the early Soviet literacy scene.
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Extra info for Bulgakov's Last Decade: The Writer as Hero
When he works on a particular writer, Bulgakov's interest is always in historical or archival materials about the artist himself, not in the analysis of the poet's creation or in its literary context. 72 In all his studies of the writer, Bulgakov scarcely ever describes the creative process. When he does so in A Theatrical Novel, he again emphasizes the spontaneity of the experience: At night, sometimes until the first light of dawn, I sat in my attic writing a novel. It first came into being one night when I had woken up after a sad dream.
Sakhnovsky, in a letter of June 1934 where he commented to Bulgakov that for the younger generation at the theatre The Days The tempering of the steel 21 ofthe Turbins had been 'a new Chayka (Seagull)'. 54 While Bulgakov would have appreciated Sakhnovsky's intended compliment regarding his play's importance for the development of the theatre, he may have had reservations about any parallels between himself and Chekhov as a personality. There is no evidence to suggest that Bulgakov prized any of Chekhov's stories or plays especially highly, and in 1935 he wrote to Popov to tax him with his enthusiastic evaluation of an edition of Chekhov's correspondence: You've distressed me with your opinion of the Chekhov correspondence.
7 1 Information o f this kind all helps t o build u p our impression of Bulgakov as a man fascinated by the detail, rather than the broad outlines of history; an appreciative reader of the best of nineteenth-century scholarship in a variety of fields and an author who possessed an eclectic range of learning. One other detail picked out by Yermolinsky is relevant to our concern in this book with Bulgakov's portrayals of the writer; this is his bafflement at the industry of literary criticism. When he works on a particular writer, Bulgakov's interest is always in historical or archival materials about the artist himself, not in the analysis of the poet's creation or in its literary context.
Bulgakov's Last Decade: The Writer as Hero by J. A. E. Curtis